Rachika Nayar Premieres Incandescent New Single “Nausea” Via THE FADER

*The Following Press Release Was Issued By Clandestine PR*

Rachika Nayar Premieres Incandescent New Single “Nausea” via The FADER

New Album Heaven Come Crashing Out August 26 via NNA Tapes

RIYL: M83, Yoko Kanno, Grouper, Julianna Barwick, Tim Hecker, Ben Frost, Kelly Moran, Elysia Crampton

Rachika Nayar (Yulissa Benitez)

“the pulse of “Nausea” comes from a faint keyboard melody playing straight eighths and a distant stadium guitar line that weaves between the beats. Then, with less than two minutes left in the song, a whirring, off-key synth enters the mix, catapulting the track toward its serotonin-dumping finale.”  –The FADER

Brooklyn, NY-based guitarist and electronic producer, Rachika Nayar, shared “Nausea,” the incandescent second single from her forthcoming full-length album, Heaven Come Crashing, releasing August 26th, 2022 via NNA Tapes. 

Premiered via The FADER, Nayar shared the following statement: “Around the time of writing this song, I was listening to a lot of 90s trance from labels like Eye-Q Records. There’s just something incredible about how they wring such heart-wrenching dance floor anthems out of the plainest melodies and chintziest digital synths, one of which I used on this song (the M1 piano).”

The track follows the album’s lead single and title track “Heaven Comes Crashing” (feat. maria bc), which received acclaim and support from Stereogum (5 Best Songs of the Week), The New York Times (The Playlist), Brooklyn Vegan (Our Favorite Songs of the Week), The FADER (live interview), NPR Music (Viking’s Choice), Paste Magazine (Best New Songs) and Pitchfork (Selects), among many others.

On Our Hands Against the Dusk, Nayar used her guitar as the primary source for sound design, mutating the instrument beyond recognition through layers of digital processing. Soon after, the album’s companion EP, fragments, demonstrated the types of raw guitar-playing that would be transfigured into those grander compositions—miniature genre sketches that touched upon everything from post-rock to Midwestern emo. With these two 2021 releases, Rachika resculpted the limits of both guitar and electronic music, placing her at the forefront of various contemporary music scenes in her current home of New York City and more broadly amongst the likes of Fennesz, Julianna Barwick and Tim Hecker.

Heaven Come Crashing retains Nayar’s mangled guitar stylings, but expands the color palette by looking not so much to the fretboard, as to the dance floor and the silver screen. Influences enter into the frame ranging from ’90s trance, to early M83, to Yoko Kanno anime soundtracks. With its M1 piano stabs, supersaws and glimpses of Amen breaks, the album charts a luminescent space between 5 a.m. warehouse raves and the urban freeways of its cover image—romantic, nocturnal, and reckless in its velocity and emotional abandon.

On the topic, Nayar says: “I both love and feel so wary of melodrama, because its entire premise is to be uncritical. Taking your most massive emotions at face-value feels so fraught when they partly originate with structures you can’t control, with structures you maybe even feel at war with.”

Within this conflicted relationship to its own theatrics, the album wages a battle between surrendering to desire and incinerating it. Heaven Come Crashing invites the listener to revel within fantasy, before helping light the match to burn it down—one final embrace in the dream world before it shatters to pieces. 

Heaven Come Crashing is out August 26, 2022 via NNA Tapes and is available to preorder here.

Album Art

1. “Our Wretched Fantasy”
2. “Tetramorph”
3. “Death & Limerence”
4. “Nausea”
5. “Promises”
6. “Gayatri”
7. “Heaven Come Crashing” (ft. maria bc)
8. “Sleepless”
9. “The Price of Serenity”
10. “Our Wretched Fate” (feat. maria bc)


Oct 1: Brooklyn, NY @ Public Records [record release show]
Oct 6: Chicago, IL @ Sleeping Village
Oct 8: Los Angeles, CA @ 2220

Select Praise
“a master of lush guitar manipulation” –Bandcamp Daily 

“blissful, shimmering, widescreen electro-pop” –BrooklynVegan

“an experience that captivates all the senses” –The FADER

“a shield and a map to use and find your way home. Incredible” –Foxy Digitalis

“Chopped up and assembled layers of improvised guitar (with guest vocals and cello) are shaped and composed into organic-sounding, melodic flow states of ambient bliss.” –New Sounds

“pitting the warped sound against the original. It feels as though the instrument is searching for its essence.” –The New York Times

“Brooklyn-based musician Rachika Nayar makes music that tantalizes and challenges the senses.​.. ​Nayar captures the intense rise with skittish drum-and-bass percussion and electronic squeals, mimicking the exhilarating feeling of ego death and freedom.” 
–Paste Magazine

“visionary ambient music” –Pitchfork

“a compelling, deeply engaging listen… both admirably eclectic and beautifully focused.” –PopMatters

“through all the wonderful textures, there’s an essence that doesn’t need to be explained, it can just be felt.” –The Quietus 

“Nayar’s compositions obliterate boundaries. They feel embodied and situated in the fragmented experience of life at the edges of what can be expressed.” –Slumber Magazine

“a collision of synths that overflows with abundant glee. Nayar pulls back from that maximalist expression in the last minute with a coda of celestial wandering that ties the whole track together and leaves the listener wanting even more.” –Stereogum

“Nayar’s music illuminates the forces that shape us and the forces that push us away from our centre” –The Wire Magazine


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